Part 18

There are in the Huntington Collection several specimens of these Nini medallions, that collection containing in all eleven medallions of Franklin, many of which being unmarked it is futile to attempt to classify. A Nini medallion having a fine fur-cap portrait sold in the Governor Lyon sale for ten dollars. Mr. Huntington wrote thus to Hon. John Bigelow, of Nini and his medallions: “He must have had a certain vogue in his time, medallions of folks of the superior classes from his hand still turning up at sales and in curiosity shops. He did two Franklins—both at the Metropolitan Museum—dated and signed. The smaller one, with the cap, ‘1777 B. Franklin, Américain,’ was among the earliest of the Franklin idols made here, and has been numerously reproduced by French, English, and other engravers. The larger, which is of the more usual size of Nini’s work, is much rarer, has never been engraved from, as far as I know, and is to my notion one of the most finely characterized of all the Franklin portraits—1799 (and in some copies MDCCLXXIX.; you will find specimens of both in the museum), with Turgot’s lines for the legend. In his letter to his daughter, Passy, 3d of June, B. F. writes: ‘The clay medallion of me you say you gave Mr. Hopkinson was the first of the kind made in France.’ This must be the one with the cap. If the Ven. F. is correct in his statement, it would curiously seem that his friend Chaumont set Nini at him as soon as he caught the artist, to start (we should now say inaugurate) his furnace at Chaumont with the likeness of his friend.”

41. Franklin. Medallion. Wedgwood.

This appears in Wedgwood’s Catalogue of 1787 under the head of “Illustrious Moderns.” It was made in black basalt and blue and white jasper. There appear to have been two of these portraits; for at the sale of the collection of Dr. Gibson, in London, March, 1877, a blue jasper medallion of Dr. Franklin, by Wedgwood & Bentley, was sold for £12 12s., while one with the fur-cap by Wedgwood sold for £11. Specimens can be seen in the Huntington Collection at the Metropolitan Museum of Art, and in the Trumbull-Prime Collection at Princeton.

42. Franklin. Cameo. Wedgwood.

In Wedgwood’s Catalogue of 1787. Made in white on colored grounds, and in pure white.

43. Franklin. Intaglio. Wedgwood.

This is named in Wedgwood’s Catalogue of 1787. It was smaller, to be used as a seal, and was of black ware highly polished. One may be seen in the Trumbull-Prime Collection.

44. Franklin. Oval Plaque. Bristol.

This medallion of Franklin is upon one of Richard Champion’s exquisite flower-plaques. This plaque is considered by Owen to be “the most important” of Champion’s work. Champion was an ardent admirer of America and Americans, and his special veneration for Franklin evidently impelled him to produce this elaborate work. It is eight and a half inches in length, and seven and a half in width, the portrait bust being surrounded immediately by a laurel wreath tied with a bow-knot, and outside the laurel wreath by a rich wreath of roses and lilies in highly raised and most delicate work. Another specimen of the same medallion is known to exist upon a plain ground plaque, and has often been attributed to the Sèvres manufactory. One of these flower-plaques with the bust of Franklin was exhibited at the Loan Collection in New York, in 1889, by Dr. Caspar Wister Hodge, of Princeton, N. J. Rev. Dr. Hodge was the grandson of William Bache, the grandson of Franklin. Dr. Hodge’s mother was born in Franklin’s house in Philadelphia, and her account of the flower-plaque was that it was made at the Sèvres manufactory and was the gift of Louis XVI. to Benjamin Franklin; that it had been sent to America by private hands, in connection with a similar one of George Washington, which was surmounted by a gilt crown; and that the messenger, in officious democratic zeal, picked off the crown with his penknife before delivering the medallion.

Dr. Hodge said it was a complete surprise to him, and it could not have been a very pleasant one, when he offered the plaque for exhibition in New York, to be told that it was Bristol china, and was not unique. Of course these latter facts might be so without destroying the other part of the family tradition—that it was a royal gift; but it is far more probable that Richard Champion presented this choice specimen of his work to Franklin, for in a letter to Champion, written from Paris, January 2, 1778, the unknown writer speaks of a visit to Franklin, and says: “He begs his compliments and is much obliged for your present, which arrived in perfect safety. He says that there is a good likeness with Wedgwood & Bentley’s, only with this difference, that he wears his hair, which is rather straight and long, instead of a wig, and is very high in his forehead.”

In the Lewis sale of Washington relics, held in Philadelphia, in December, 1890, there was sold an “oval porcelain plaque with a bust of Benjamin Franklin in a wreath of china roses and lilies, 8½ inches by 7½ inches.” This I believe to have been the one which tradition in the Hodge family says came over to Washington. Some of the Bristol flower-plaques had a crown above the medallion; one in Mr. Edkin’s Collection is illustrated in Owen’s “Two Centuries of Ceramic Art in Bristol.” The Franklin plaque sold in Philadelphia for ninety dollars—a price to make an English collector groan with envy—while the one in Mr. Edkin’s Collection (from which is taken the engraving in Mr. Owen’s book) sold in England in 1874 for £150. Dr. Hodge had an insurance of one thousand dollars offered to him on his Franklin plaque when it was in New York.

45. Franklin. Medallion. Neale & Co.

The head of Dr. Franklin in pottery, by Neale & Co., Hanley. It is an oval medallion.

Franklin. Relief Portrait. Dresden.

See No. 29.

46. Franklin. Statuette. Wood.

This pottery statue is fifteen inches in height, and is neither very impressive nor well modelled. One in the Huntington Collection is colored, Poor Richard being gayly attired in gray coat, yellow waistcoat, and pink breeches. He carries his hat under his left arm, and a scroll in his left hand. Another in the same collection is precisely like it, save that the head only is colored. It is labelled, in gold letters, “General Washington.” This mistake easily arose, for the statuette of Washington, described in No. 24, is exactly like this Franklin statuette except the head, which in the latter has flowing natural hair. A number of these Franklin statuettes bear the name of Washington, and it does not matter much, for they do not closely resemble either of the great Americans. This statuette is attributed to Ralph Wood or Enoch Wood, of Burslem. There are three of these figures in the Trumbull-Prime Collection, dressed in vari-colored garments, one being much smaller, about thirteen inches in height. But for the right arm being more extended, it would appear that the original mould had become worn and a new one cast, which in shrinking made this reduction in the size of this figure. One of these statuettes of Franklin in the S. L. M. Barlow Collection was sold in 1890 for forty-two dollars.

47. Franklin. Statuette.

In the Catalogue of the Museum of Practical Geology, Number G. 374, is described thus: “Statuette of Dr. Franklin painted in colors. Height, 13¼ inches. Mounted on square marbled pedestal with oval yellow medallions in relief; unmarked. This may be a Salopian figure.” One of these statuettes is in the Huntington Collection; the medallions being in blue and white. Dr. Franklin wears in this case white breeches, blue waistcoat, scarlet coat, a blue ribbon with an order, and a long ermine cloak. This statuette is rather funny, though at first glance it is quite impressive. The Doctor, comparatively devoid of pendulous chin, stands erect and beautiful, with his head thrown back with a most imperious and even imperial air, to which the ermine cloak gives added weight and zest. He is so erect and so slender that we hardly know him. But when we glance at his feet, the impression of youthfulness and beauty vanishes. With feet several sizes too large for his figure, and gaudy light green slippers several sizes too large even for those feet, we turn away to our familiar good old dewlapped man with the fur-cap, and like him better than this splay-footed, ermine-cloaked plantigrade.

48. Franklin. Statuette.

Parian figure about seven inches in height. The likeness is good, though the feet are abnormally narrow and pointed; unmarked. A copy may be seen in the Huntington Collection.

49. Franklin. Statuette.

Pottery figure about seven inches in height, leaning on a pink pedestal decorated with raised white eagles. The coat is black, breeches yellow, and waistcoat pink. This gayly garbed slim young fellow does not at all resemble our own Franklin. The statuette is unmarked. A specimen may be seen in the Huntington Collection.

50. Franklin. Statuette.

This pottery figure is fifteen inches in height, and is in feature and figure and dress like No. 46, and was evidently modelled by the same hand. It is a poor thing, and bears but little resemblance to Franklin. A dilapidated specimen is in the Huntington Collection.

51. Franklin. Mirror Knob.

Print of Franklin in black on oval porcelain plaque in a mirror knob. For description of these knobs see page 159 _et seq._

52. Franklin. Fur-cap Portrait.

Round plate with fluted border, with splashes of purple and yellow like No. 81. In the centre a good rendering of the fur-cap portrait of Franklin. In the Huntington Collection.

53. Franklin. Fur-cap Portrait.

Plate with pierced border like No. 82. Well-painted portrait in centre. In the Huntington Collection.

54. Franklin. Portrait. Dresden.

A Dresden plate with flower border and good portrait of Franklin. In Huntington Collection.

55. Franklin. Bust.

Small bust of Franklin in bisque, mounted on a yellow and gold pedestal. Marked “Francklin.” In Huntington Collection.

56. Franklin. Bust.

A bust of Franklin in what appears to be modern majolica. In Huntington Collection.

57. Franklin. Bust.

White pottery bust glazed, about ten inches in height. Around the base a wreath of laurel. In Huntington Collection.

58. Franklin. Bust.

White porcelain bisque bust, five inches in height, mounted on dark blue and gold stand. In Huntington Collection.

59. Franklin. Portrait. Dresden.

A portrait of Franklin on a great cylindrical covered jar, twenty inches in height and eight inches in diameter. The portrait is good, though the mouth is exaggeratedly small and the chin exaggeratedly remultiplied. It is surrounded by a well-painted wreath of flowers.

Franklin. Figure on Pitcher.

See No. 17.

Franklin. Fur-cap Portrait.

See No. 13.

Franklin. Emblem of America Pitcher.

See No. 98.

60. Franklin. Tomb.

This design was printed in dark blue on dinner, breakfast, tea, and toilet services in vast numbers. In such large numbers, in fact, that the pieces with this design are cheaper than any others bearing the names of any historical personages. I have bought a large teapot for a dollar, cups and saucers for a dollar, etc. This might be classed among the Lafayette prints, but as we are not sure that the seated figure is intended for Lafayette, and Franklin cannot escape the formal witness of his inscribed tomb, we place it in this place in the list. A teapot bearing this print is here shown.

61. Franklin. Print. Fur-cap Portrait.

This print is in black on pitchers and bowls. It is the fur-cap portrait with the glasses. The legend reads: “Benj^n Franklin Esq. LL.D. and F.R.S., the brave defender of the country against the oppression of taxation without representation—author of the greatest discovery in Natural Philosophy since those of Sir Isaac Newton, viz.: that lightning is the same with the electric fire.” See No. 18.

62. Franklin. Portrait.

A full-length print of Franklin on mug, with various maxims of Poor Richard’s.

63. Franklin. Portrait.

A light blue print of Franklin found on toilet services. The philosopher is seen flying his famous kite.

64. Dr. Franklin’s Maxims.

Plate of cream ware with relief border of scrolls and scallops intertwined, with words in ornamental capitals, “Fear God: Honour your Parents.” In the centre is a green print of a view of the inside and outside of a shop, with figures. Those within are working, those without are idle. Above, the words, “Dr. Franklin’s Maxims.” Below, the maxims, “Keep thy shop and thy shop will keep thee,” “If you would have your business done, go; if not, send.” This plate is in the possession of Mrs. Nealy, of Washington, D. C.

65. Franklin’s Morals. Staffordshire.

Dark blue plate with waving edge, and dainty border of fruit, shells, and flowers. In the centre a man carrying a large key. Houses and a bridge in the background. On the back of the plate the words, “Franklin’s Morals, ‘The used key is always bright.’”

66. Franklin. House at Passy.

Upon a beautiful Sèvres vase at the Executive Mansion in Washington is seen a view of Franklin’s house at Passy.

67. Franklin. Portrait Plaque.

Oval plaque of Italian majolica marked with inscription, “Cortoni Fab Alari. Beniamino Franklin, C. Brunacci Depinse.” In the Huntington Collection. There are also three other majolica plates and plaques in this collection bearing portraits of Franklin.

I may say, in conclusion, what I have already shown in detail, that there can be no better opportunity of studying the face of Franklin, as shown in pottery and porcelain, than in the Huntington Collection. There are eleven relief medallions, eleven enamels, nine busts, six statues, and a large number of plates and plaques. You can also compare these ceramic portraits with innumerable bronzes, engravings, art gems, cameos, gold and silver and pewter work bearing the same serene, benignant face, and with some very funny though unintentional caricatures of Franklin by Japanese and Chinese artists, in some of which the well-known fur-cap has been transformed into a close crop of short woolly curls.

XV. DESIGNS RELATING TO LAFAYETTE

I have never seen in America any pieces of English pottery or porcelain bearing the name, portrait of Lafayette, or any reference to him that could be assigned to an earlier date of manufacture than 1824, the time of Lafayette’s last visit to America. It is worthy of note, however, that the Lafayette pieces of crockery that were printed to commemorate and illustrate that memorable visit and that triumphal journey are, as a rule, in a much better state of preservation, freer from marks of fierce assaulting knives, barer of nicks and cracks, than other American historical pieces of the same date. The great veneration and affection felt by all Americans for the noble character of Lafayette, and their gratitude for his assistance in times of war, were doubtless the cause of the careful preservation of the pieces relating to him and printed in his honor. The fine platter shown on page 294, which is the clearest, darkest, “Landing” print I have ever seen, was always kept carefully wrapped in an ancient hand-woven “flannel sheet,” and laid away in an upper drawer of a high chest, a “high-boy,” in a New England farm-house, until it was ruthlessly removed from its honored seclusion of half a century, and hung on the wall of my dining-room.

During the triumphal journey of Lafayette through this country in 1824, ladies, in honor of him, wore sashes and belt-ribbons printed with his name and likeness, gloves with his portrait stamped upon the back, and medallions with laudatory inscriptions relating to him fastened upon their neck-ribbons and necklaces; while men and boys wore Lafayette medals, medallions, and buttons. Of all these tokens few now remain; but the various Lafayette plates and pitchers form lasting mementos of the visit of the “Nation’s Guest.” Few families in New England appear to have had more than two or three of the Lafayette pieces, but in the vicinity of New York persons purchased whole dinner services, especially of the “Landing” pattern. Mrs. Roebling owns the remains of an entire set purchased by her father, General Warren. Mr. William C. Prime also owns an entire service.

La Grange, the home of Lafayette, was a familiar scene to Americans, for many transparencies and paintings of the château were exhibited during Lafayette’s tour in 1824, and two views of it appear on plates and platters. With these I continue the list of historical designs and subjects.

68. Lafayette. La Grange. Enoch Wood & Sons.

This is a dingy and poorly printed view of the gloomy entrance to the château, with its great fir-trees, an engraving of which is seen in Cloquet’s “Recollections of Lafayette.” The blue is good in tint, though the print is indistinct. It has a poor, confused shell border. On the back the stamp of Enoch Wood & Sons, and the mark “La Grange, the Home of Lafayette.” A plate with this design is here shown.

69. Lafayette. La Grange 2. Wood.

The superb platters with this print bear on the back, in a wreath of laurel, the stamp “Southwest view of Lagrange, the residence of Marquis La Fayette,” also the impressed stamp of Wood. The color is of the richest dark blue tint, a true “lapis to delight the world.” Across the top of the platter the border is formed in a graceful design of grapes and vine leaves. On the left the border is composed of finely drawn stalks of hollyhocks. On the right a tree and foliage form the border. On the lower rim is a design of fleur-de-lis and roses. The view of the château is different from No. 68, the whole front of the house being shown. A broad expanse of lawn fills the foreground, across which two dogs are running. Up a path on the left walk a man, woman, and child. I have never seen but two pieces bearing this design, both large platters twenty-three inches long. I purchased one for $12, which large price was unwillingly paid; but as I had never seen nor heard of any pieces bearing such a design, I could not bear to lose it when I believed it to be unique. Within a week after this purchase I saw the second and better platter and bought it for $1.50, and now I expect to find many another piece with this “Southwest view of Lagrange.” I give these prices to show the impossibility of assigning a definite value to those “old blue” Staffordshire pieces. One of these platters was obtained through the sale of the old dining-room furnishings of Barnum’s Hotel, in Baltimore.

70. Lafayette. Medallion.

This design is the head of Lafayette in blue on a white porcelain plate, with the surrounding words, “Welcome, Lafayette, the Nation’s Guest and our Country’s Glory.” The plate has an embossed border similar in design to that upon some New Hall plates in my possession. It is unmarked. The portrait is exceedingly ugly and mean.

71. Lafayette. Portrait.

A pitcher of stone-ware printed in blue, with a portrait of Lafayette on one side, with this legend, “In commemoration of the visit of Lafayette to the United States of America in 1824,” and a wreath entwined with these words, “Lafayette, the Nation’s Guest.” On the other side a head of Washington. Beneath the nose of the pitcher a spread eagle, and the terse sentence, “Republicans are not always ungrateful.” One may be seen in the Trumbull-Prime Collection. I have also seen several for sale in city “antique shops.”

72. Lafayette. Medallion.

Medallion portrait of Lafayette and similar one of Washington on common white stone-ware mug. Some of these mugs also have the date 1824, not the year of manufacture apparently, but the date simply of Lafayette’s visit to America.

73. Lafayette. Medallion.

A pitcher ten inches in height, bearing on both sides a good portrait of Lafayette, with this legend, “General Lafayette was born at Auvergne, in France. At 19 he arrived in America in a war-ship furnished at his own cost in 1777, & volunteered in our army as Major General. At Brandywine he was wounded but refused to quit the field; he assisted the army with £10,000 from his own purse, and kept in service until our independence was sealed and country free; in 1784 he returned to France loaded with honors and the gratitude of the American people; in 1824 the Congress unanimously offered a ship for his return, he declined the honor, but landed from the Cadmus at New York, August 24th, 1824, amid the acclamations of 60,000 freemen.” In front of the pitcher is another portrait of Lafayette in vignette, with this legend above it, “General Lafayette, welcome to the land of Liberty,” and below, “He was born at Auvergne in France, 1757, joined the American struggle in 1777, and in 1824 returned to repose in the bosom of the land whose liberty he in part gave birth to.” This pitcher is globose in shape, is in a good shade of blue, and is unmarked.

74. Lafayette. Cadmus. Enoch Wood & Sons.

This was the name of the ship which brought Lafayette to America in 1824. The stamp “Cadmus” appears on a few only of the plates, and the others must be classified by the knowledge of, and comparison with, the marked ones, or with the illustration here shown. This is an exceedingly beautiful plate; the graceful shell border is so rich and dark a blue, and the centre expanse of water and full-sailed ship and sloop are so distinct and bright, that it gives one the impression of looking out from a dark cave upon the sunny ocean. Every plate that I have seen bearing this design has been of the finest color, clearest print, most brilliant glaze, and in good preservation. They have the stamp “Enoch Wood & Sons.” The Cadmus was built for Mr. William Whitlock, and belonged to the Havre line of packet-ships organized and managed by William Whitlock, Jr., & Co., of 46 South Street. When this eminent shipping-house learned that Lafayette had declined the offer of a national vessel, the members at once put the Cadmus at his service, declining to receive any remuneration therefor. No other passengers were allowed on board save the General and his suite, and the ship took no cargo. Captain Allyn was the commander. Lafayette fully appreciated this initial act of American friendship and hospitality, and the first private house at which he dined after arriving was at Mr. Whitlock’s. The ship became in later years a whaling vessel. The Long Island Historical Society have a portion of the wood-work of the berths from the state-room occupied by Lafayette.

75. Landing of Lafayette. Clews.